Daniel Babb

McFadden
May 13, 2019
Expanded Definition Essay
What a Good Piece of Literature Is
For writers, making a good piece of literature is far more than a set of words on a page; it
involves the creation of a whole other world, built for the reader to experience. However, that is not to say
that others fall short of this, something I would have never known the difference before starting this
course. But over my time in this course, I have found the criteria for good literature to be that it fosters
understanding of complex topics, complimented through the deliberate use of style, illustrative use of
figurative language, and a compelling narrative.
This viewpoint is doubtless held in some opposition to others. Others may claim that literature is
not needed to understand a worldview, situation, or emotions; a purely informative work, such as a
documentary or news article could accomplish the same goal without the use of convoluted literary
techniques. To be clear, the issues to which the opposition refers arise from when the techniques become
the focus of the literary endeavor, instead of the audience’s understanding of a topic.
While it is true that some authors of literature ineffectively use literary techniques, which distract and lead
to disinterest, authors of good literature refrain from doing this by employing those techniques in a
complimentary role. Thusly, good literature informs the reader with subtlety.
A great example of how style can be used to enhance a piece of literature is Julia Alvarez’s novel
How the Garcia Girls Lost Their Accents, particularly how the author incorporates the use of detail
according to her style. In Alvarez’s case, her proficiency in this regard lies in the fact she so expertly
weaves it into her story, preserving the flow of her work while expanding its meaning through the
development of characters. One such place is right from the opening pages, where she writes, “Before
anyone has turned to greet her in the entryway, Yolanda sees herself as they will, shabby in a black cotton
skirt and jersey top, sandals on her feet, her wild black hair held back with a hairband” (Alvarez 3). Here,
the reader can see that Yolanda is nervous as the prospect of seeing her relatives, as she considers the way
that they will look at her. Additionally, the fact she sees herself as shabby alludes to her comparative lack
of self-esteem which will come into play later (or earlier, chronologically speaking). What’s more,
Alvarez accomplishes all this description while keeping her end goal in mind of building the
characterization of Yolanda to be later expanded upon in the narrative. Compare this approach to Ray
Bradbury in Fahrenheit 451, where wile Bradbury shows expertise elsewhere, there are certainly select
passages which dwell on descriptions with have no impactful bearing on the story, such as Alvarez’s
approach. He writes in the opening pages of his work, “The last few nights he had had the most uncertain
feelings about the sidewalk just around the corner here, moving in the starlight toward his house”
(Bradbury 2). While the passage’s information does have significance later in the story, unfortunately it is
included right after a most chaotic scene only a few lines earlier. For the unaccustomed reader, this rapid
change in detail leaves a feeling of confusion, leading to distraction and ultimately disinterest. It is a
prime example of how one must keep their end goal in mind of preserving flow within the story.
Continuing the importance of what makes a good piece of literature, a writer must stay in control
of their use of figurative language to foster understanding. In “Sympathy,” Paul Laurence Dunbar shows
masterful control over figurative language in his expertly crafted poem, fostering that understanding
needed to elevate a piece of literature to be considered “good.” In particular, Dunbar’s use of allusion
perfectly matches his end goal in mind of establishing understanding in the audience of his message.
Throughout the poem, the speaker reiterates how he shares the same feelings of desperation, pain, and
hope that a caged bird feels, similar to their presumable position as a slave. The allusion is held constant
throughout the work, effectively holding the reader’s interest in the story. This runs contrary to the work
of William Carolos Williams in “The Red Wheelbarrow.” Though I have been prodigious in my acclaim
for this genius masterwork of mastery, I must accede that Williams does stray too far into the abstract in
terms of his figurative language in this piece. The description is far too decentralized to be cohesive in
any sense, and leaves to confusion and disinterest in the audience. Perhaps if Williams had included some
form of context for the lines it would foster more understanding. As it stands however, “The Red
Wheelbarrow” stands as an example of how unchecked use of figurative language and detract from the
meaning of a work.
Though some may not realize it at first, every good piece of literature involves some type of
narrative which compliments to the meaning in a good piece of literature. A narrative is central to a text,
as it acts as the focusing point for all the elements an author can include, as well as for the reader to focus
on to keep their interest in the story. William Shakespeare accomplishes this with mastery in his work,
“The Tragedy of Macbeth” by using the narrative to act as a focal point for readers to draw meaning from.
Throughout the story, the focus remains on Macbeth and his pursuit of power, from the opening scene to
the last. What’s more, Shakespeare reflect his central message, that unchecked ambition is wholly
destructive, is reflected in Macbeth’s titular downfall as described in the title. This runs contrary to the
work of Fyodr Dostoyevsky in Crime and Punishment. In this work there are a multitude of characters
and side plots explored which retract from the focus on Raskolnikov’s journey through the intricacies of
morality, such as the case for the noblewoman featured during the opening pages (Dostoyevsky 13).
To be considered a good piece of literature, the author must keep their end goal in mind of
fostering; understanding in the audience while using various literary and figurative techniques tot
compliment their approach in informing the reader. By utilizing their style, the author differentiates
themselves and their perspective as unique and significant. By utilizing figurative language, the author
goes beyond the objective statement of fact present in other forms of media which immerses the reader in
their created world. And finally, by crafting a compelling narrative, the author holds the reader’s interest,
accomplishing their goal of enabling understanding. Without meeting all of these requirements, the
author’s work is put at risk of fostering distraction and disinterest instead of expanding one’s
understanding.
 Works Cited
Alvarez, Julia. How the Garcia Girls Lost Their Accents. Algonquin Books, 2013.

Dostoyevsky, Fyodor, and Michael R. Katz. Crime and Punishment. Liveright Publishing

Corporation, a Division of W. W. Norton and Company, 2019.

Dunbar, Paul Laurence. “Day 4: Allusion.” 30 Days of Poetry.

Humphreys, David. “Sonnet on the Death of Washington.” Sonnets.org,

sonnets.org/humphreys.htm.

Shakespeare, William, and Daniel Fischlin. The Tragedy of Macbeth. Rocks Mills Press, 2017.

Williams, William. “The Red Wheelbarrow.” Poetryfoundation.org.